Director: Bill Condon
Writers: Rand Ravich and Mark Kruger, from a story by Clive Barker
Stars: Tony Todd, Kelly Rowan, William O’Leary, Bill Nunn, Matt Clark, David Gianopoulos, Fay Hauser, Joshua Gibran Mayweather, Michael Culkin, Timothy Carhart and Veronica Cartwright
Cheesy title or not, the original Candyman was one of the underrated horror gems of the nineties. I’ve seen it a couple of times but watched it again before reviewing this, its first of two sequels, on Mardi Gras, the day on which the finalé of Farewell to the Flesh is set. It surprised me again for a whole slew of reasons. Some were little ones, like Virginia Madsen being credited above Tony Todd, the monster of the franchise; the brief presence of Ted Raimi, brother of Sam; or the fact that the score was by a major composer, Philip Glass. Others were more important, such as the way in which it’s really an African American horror film that speaks without stereotype. Four of the six leads are actors of colour, though the focus is on a white woman; that leaves only one white male, who’s by far the weakest of that half dozen, being a college professor cheating on his wife with a bimbo student. Xander Berkeley played him well, but this isn’t about Prof. Lyle; it’s about racial inequality and how things haven’t changed much in a century or so.
This sequel isn’t remotely up to its predecessor, but it’s better than many have given it credit for; unfortunately, when it’s bad, it’s really bad and that lack of consistency really doesn’t help. A great example of this comes during the prologue, right before the title card, as the Candyman shows up in the bathroom of a New Orleans bar. Before I explain this, let me explain who Candyman is. He’s Daniel Robitaille, the son of a slave who grew up in polite society after the American Civil War because his father innovated a shoe production technique that proved highly profitable. Daniel became a renowned portrait artist, but made the mistake of falling for, and fathering a child with, a white woman. Being 1890, his lover’s father promptly led a lynch mob that severed his painting hand and replaced it with a hook, then smeared him with honey to attract bees to sting him to death. For reasons left unexplained until this sequel, his soul can be summoned by speaking the name Candyman into a mirror five times, whereupon Bad Things happen.